Vacariu - The Framework of a. Tarkovsky (Compilation)

8/9/2019 Vacariu - The Framework of a. Tarkovsky (Compilation)

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The framework of Andrei Tarkovsky(compilation realized by Gabriel Vacariu)

Despre calauza din alauza!" in Tarkovsky#s words $to make people feel the measure of

thin%s$&

Tarkovsky declara ca nimic nu este simbolizat in filmele sale&http://www.youtube.com/watch?v=PBZsj8FPSbo

[This presetatio is just a compilationo! i"eas !rom' eremy ark *obinson" Vida ohnson

and Graham +etrie" Gabor ,arsai" -ean artin" aap ees" .e /anu" Alan +avelin"

Thorsten 0otz10ornstein" +eter Green" Thomas *edwood" Daniel 2& ones" Andras 0alint

,ovacs" +eter ,in%" Andrea Truppin"+rakash ,ona"*obinson3

4ovie' Gabriel Vacariu despre -olaris (5678) at http'99youtu&be98:;b;@4 i 01;@ his teacher was i%hai$ Aomm 010901#04

; 01


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; o"o he "irecte" a sta,e pro"uctio o!"oris 'odunovat Hovet ar"e.

The Sacriice 01824: was shot o the Ba$tic Sea is$a" o! ot$a". Primari$y a Swe"ish

pro"uctio) the members o! the crew ic$u"e" Sve Ly%vist a" Gr$a" 7osephso) both !amous

!or their co$$aboratio with ;,mar Ber,ma. Sacriice receive" at Haes the ra" Specia$7ury PriCe) the ;teratioa$ Hritics PriCe) a" the Gcumeica$ PriCe.

Kuri, the $ast years o! his $i!e) Tar%ovs%y su!!ere" !rom cacer. Me "ie" i Paris o Kecember31) 0182. Tar%ovs%y "ie" i 0182 a" is burie" i Paris =


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a%i, his movies: E;t is obvious$y a most mysterious) imperceptib$e process. ;t carries o

independently of ourselves" in the subconscious) crysta$$isi, o the wa$$s o! the sou$.D

KebussyDs isistece that music "oesDt represet emotio: music is itse$! emotio.

Tarkovski about himself T: *There is o$y oe way o! thi%i, i ciema: poetica$$y*

Timeis the most importat aspect o! the !i$m me"ium) because *it is iheret to ciema. . . . ;t

pulsates throu%h the blood vessels of the film) ma%i, it alivethrou,h various rhythmic pressuresre"ere" ob$iQue$y i or"er to suppress the *"ramatic* meai, o! the evet) whi$e ,etti, the viewer

ivo$ve" with meanin%s hidden beneath the narrative level. Gcoura,e" to search !or somethi,

beyond the ima%e as an analo% of reality) a$$owe" to po"er upo the presete" evets/objects) theviewers e,a,e i their ow re!$ectio upo what they perceive o the scree.

*; a$$ my !i$ms it seeme" to me importat to try to estab$ish the linkswhich coect peop$e

other tha those o! the !$esh4) those links which connect me with humanity) a" a$$ o! us with

everythi, that surrou"s us.* Tar%ovs%y i Sculpting in Time) 01854

T: Mis !i$ms are about $ove) a" i a sese it is $ove that $ies behi" a$$ this. [&Perhaps to $ove is

to $ear to wa$% throu,h this wor$".( 'ctavio PaC 999 Ha$auCa-0

&Sesu$ artei este ru,aciuea) este ru,aciuea mea. Kaca aceasta ru,aciue) "aca !i$me$e me$e

pot a"uce oameii $a KumeCeu) cu atat mai bie. tuci viata mea isi va capata itre,u$ ses:ace$a) esetia$) "e a s$uji.*

*Toate !i$me$e me$e) itr9u !e$ sau a$tu$) repeta i"eea ca oamenii nu sunt sin%urisi parasiti itr9

u uivers vi") ci ca ei sut $e,ati pri umeroase $e,aturi "e trecut si de viitorsi ca !iecare

i"ivi" ioa"a pri preCeta sa o $e,atura cu istoria omeirii i ,eera$. ceasta sperata) ca

fiecare viata si fiecare act are un sens) mareste itr9o masura ica$cu$abi$a resposabi$itateai"ivi"u$ui !ata "e cursu$ ,eera$ a$ vietii.*

T: EArtmust ,ive ma hopea" faith.D

T: o"er ma is spiritually impotent) a" that Eoe o! the sa""est aspects o! our time is the

tota$ "estructio i peop$eDs awareess o! a$$ that ,oes with a coscious sese o! the beauti!u$.

*Kostoevs%y wats to be$ieve i o" but cannotR the re$evat or,a is atrophie".* T: y movies are Dostoievsky on cinema screen?!

T: *; see it as my "uty to stimu$ate re!$ectio o what is essentially human and eternal in each

human soul) a" which a$$ too o!te a perso wi$$ pass by) eve thou,h his !ate $ies i his ow

ha"s. ; the e" everythin% can be reducedto the oe simp$e e$emet which is a$$ a perso cacout upo i his eistece: the capacity to love.

T: *what peop$e are $oo%i, !or i ciema is a continuation of their lives) ot a repetitioO(


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Tar%ovs%y was a"amat$y oppose" to ay intellectual interpretation o! his $ms. Fi$ms i

,eera$) a" his $ms i particu$ar) are rst a" !oremost aemotional e@perience&

Scripts a" !i$ms wou$" be costat$y cha,i, as Tar%ovs%yDs u"ersta"i, ,rew as to what

each scee or !i$m reQuire".

Me was fanatically involvedi a$$ aspects o! pro"uctio) havi, the $ast wor" o set "esi,)

costume a" choice o! $ocatio.

-ources of inspiration Larrative !rom To$stoy) Sha%espeare a" the Kutch paiters) Brue,e$) ByCatie a" Aussia

ico paiti,) !rom Push%i to "reiDs !ather) rsey Tar%ovs%y) !rom oethe to Mo!!ma.

From Sha%espeare a" ot ay mo"er p$aywri,ht that Tar%ovs%y $ears how to "o Stalker-

The"ible, $ea"er Push%i a" Fyo"or Kostoievs%y are !avourites)on *iti+ote is re!erece"

i Solaris Fyo"or Tyuchev i Stalker to Hhe%hov) Kate $i,hieri the Inerno-,Kostoievs%y .The )evils-, rsey Tar%ovs%y a" Push%i iMirror

; his boo%) Sculpting In Time, Tar%ovs%y !reQuet$y re!ers to $iterary !i,ures: apart !rom the

oes cite" above are Boris Pastera%) Li%o$ai o,o$ J a" Merma Messe) N.F Me,e$) Pau$>a$ery) Grest Memi,way) Gmi$e Zo$a) ustave F$aubert) oethe) Kate $i,hieri) Thomasa) FraC @a!%a) a" arce$ Proust J aria Ai$%e Ai$%e+s mystica$ $yricism

eoar"o "a >ici i Mirror a" The Sacriice Piero "e$$a Fracesca i Nostalghia a" The

Sacriice the sowscapes re!ereci, Pieter Brue,he$ i Solaris a"Mirror part o! 7a vaGyc%+s *hent Altar piece i Stalker $brecht Kiirer+sApocal$pse iIvans Childhood >icet

va o,h is a$$u"e" to i the !ace a" ha"s o! orcha%ov ByCatie icos appear i Mirror,

Andrei Roubl$ov a" The Sacriice a"Andrei Roubl$ov has the paiter+s icos crowi, it atthe e"

Harpaccio with his !rota$ viewpoit a" others4 i!$ueces his thinkin% a scene

+ ,roup o! so$"iers is bei, shot !or treaso i !rot o! the ra%s. They are waiti, amo, thepu""$es [poo$s by a hospita$ wa$$. ;t+s autum. They are or"ere" to ta%e o!! their coats a" boots.

'e o! them spe"s a $o, time wa$%i, about amo, the pu""$es) i his soc%s which are !u$$ o!

ho$es) $oo%i, !or a "ry p$ace to put "ow the coat a" boots which a miute $ater he wi$$ o$o,er ee"+.

0elief" picture" ima%e 0eliefis a theme cetra$ his movies ot &re$i,ious movies( but &spiritua$ movies(4.

T: the lan%ua%e of spirit is i the very nature o thingsO To achieve $i!e

breathi, throu,h the !rame) Tar%ovs%y !i$ms motio: ,rass) trees) c$othes

b$owi, i the breeCe a" so o!te4 rui, water. The sou"trac% emphasiCesmotio: "rippi,) crea%i,) rust$i,) the oises o! ature o the move) a wor$"

that ever %eeps sti$$. Gve whe Tar%ovs%yDs !rame seems to be static) the

sou"trac% evo%es motio. *obert 0resson wrote: to T*A-.ATB the

invisible wind by the water it sculpts in passin%&! This is precise$y what

Tar%ovs%y tries to "o: to "epict the invisibleby showi, what it touches andmoves. The invisible i Tar%ovs%yDs phi$osophic ciema is the spiritual) the


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divine) the unknown and unknowable. So he "epicts a ,roup o! trees a" the

has the wi" rust$e the $eaves. [toioi

G$ia"e: &;t is true that the theo$o,y o! Ethe death of God#is etreme$y importat) because it is

the so$e re$i,ious creatio o! the mo"er Nester wor$". Nhat it presets us with is the !ia$ step

i the process o! desacralization.( 0185) 0


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The difference between atholicism and 2rthodo@ism Tar%ovs%yDs pre!erece !or 0yzantine artistsa" !or artists o! the &orthern *enaissance(

rather tha the ;ta$ia tra"itio because o! cu$tura$ coectios: *ussian icon paintin% is a

tra"itio roote" i ByCatie ico paiti,.

rt: DifferenceAeaissace ;ta$ias49Lorther Gurope: &The appea$s that artists $i%e >a Gyc%or >ermeer ma%e are to the individual eye) ot to the commo ,aCe o! a covo%e" au"iece) asiche$a,e$oDs areO(

'e is ot suppose" to ,et somethi, "i!!eret !rom the Sistie Hhape$ cei$i, tha oeDs

ei,hbor. Spectac$e ivites collective e@perience. The Sistie Hhape$ cei$i, is a opportuity!or a commua$ evet. ;t is $ou" a" bombasticO. 'e is ot suppose" to ,et somethi,

"i!!eret !rom the Sistie Hhape$ cei$i, tha oeDs ei,hbor.

vs.a *embrandt portrait has to be ta%e personally. ;t ivites the viewer to %o inside' self1

reflection

By cotrast Aeaissace paiti, a" the ear$ier Kutch masterwor%s o! >a "er Ney"e a" >a

Gyc% is icoo$o,ica$ everythi, i the picture has a "eotative meai,.

Sec 02) 0# Kutch paiti,: Mooch a" >ermeer. UThe movement of li%ht or the su%%estion of

movement that has infinite psycholo%ical 4reli%ious3 connotations&

Kuri, the Aeaissace) Etalians: Greek ideals of proportion and perspective

vs.

Paiters i /landers" the etherlands and Germany: accurate$y pait li%ht. va Gyc%) vaKyc%) "e Mooch a" >ermeer: accurate represetatio o! rea$ity) !ew wou$" ca$$ what they "i"

&imitatio( O sice they cocere" themse$ves primari$y with $i,ht istea" o! atura$istic

mo"e$i,) $iear perspective a" vo$umetric co!i,uratio.

Pave$ F$ores%y: *enaissance as a formal) rather tha a spiritua$ pursuit. Ovs. truth to

perception( is subFectiverather tha objective [a" !orma$ To$stoy: ;! art ca save the worldit ca "o so o$y person by persona" ot en masse. To$stoy

,ets this !rom his u"ersta"i, o! Hhristiaity) which is) o! course) ati9istitutioa$ a" "eep$yi"ivi"ua$istic.

'rtho"o re$i,io: Hotemp$ati, atura$ a" huma beauty bri,s ma c$ose to the perceptio

o! "iviity. The ico = cocetrate" !orm o! this re$atioship. The ico = a ima,e) a &wi"ow(to the "ivie wor$" throu,h beauty = the icoostasis

;coostasis = ; the church) pro!ae space separates !rom sacre" space) the sactuary that

remais ivisib$e !or the be$iever is $i%e a bi, scree throu,h which ma achieves visua$ cotact

with the "ivie wor$". The visual contact is indirect a" is me"iate" by the be$ieverDs

ima,iatio) pro""e" by his or her cotemp$atio o! beauty. This is how time becomes a

importat !actor o! visual perception. The viewer ee"s time to see &throu,h( the object. TheobFect#s beauty only helps the vision#s transcendence into the divine world&

Tar%ovs%y commo with Aeaissace artists: he wor%s !rom nature

About sacred space


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??

/aith is an affirmation of the miraculous that which is Hinvisible# and Heverywhere# at any

point in time

The e@perience of colori T reQuires attetio to subtlety and sli%ht movements of li%hta"

shi!ts o! co$or. Tar%ovs%yDs co$or symbo$s "o ot aouce themse$ves with tympais a"trumpets as "o Spie$ber,Ds a" Sir%Ds.4

Ho,itive ambi,uity = Shi!t the viewer+s attetio !rom the representational to the

transcendental[a" trasce"et meai, o! the recor"e" evet

T: Two "irectors 04 Preset the wor$" that surrou"s them9 the real actual worldthat you see

with your eyes. 34 Preset their internal selves. = Poets: Ber,ma) Buue$) iCo,uchi)

@urosawa) >i,o) Bresso. Nhe they ma%e !i$ms) they epress themse$ves itera$$yO But you

must u"ersta" that artists rea$$y ever ta$% about themse$ves "irect$yO ,reat poet) whetherta$%i, about himse$!) or ta$%i, about the commuity) is a$ways a""ressi, $ar,er Questios.

T: Fi$m is arrative.

T: Spea%s e,ative$y o! pure$y abstract art a" o! the avat9,ar"e i ,eera$ thou,h he metios

HeCae) va o,h a" Picasso i positive cotets4.

"rei Aub$yov: a "ay"ream o! Ha$vary that is oticeab$y simi$ar to 0rue%el#spaiti, o! the

same subject.

Harpaccio was a ;ta$ia) but the aspect o! his wor% that T "raws our attetio to is more a%i to

the Lether$a"ish tra"itio.. the ,reater truth is i HarpaccioDs wor%) su,,esti, i !act thatAaphae$ meas to "eceive the viewer.

Ber"yaevDs "escriptio o! Aaphae$ as &the most impersoa$ artist i the wor$")( a" as a artist

who &"isp$ays ,reat virtuosity without ay ori,ia$ substace(O

There is o more stri%i, simi$arity i their wor%s tha i the way T a" Brue,e$ me"itate upo

ature.

-ymbol vs& ima%ine and li%ht atisse O to a woma who comp$aie" that a paiti, o! his "i"Dt $oo% $i%e a woma) because

the proportios were wro,: &Vou are mista%e ma"am) !or this is ot a woma a!ter a$$) it is a

paiti,.(

T: +The !ewer symbo$s the better- -ymbolism is a si%n of decadenceC [symbo$ism = missi,

ima,iatio


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Nhe as%e") !or istace) about the uep$aie" reappearace o! the Mo$y Foo$ at the e" o!

Andrei Rublev whe she is see sae a" rich$y "resse") Tar%ovs%y: H.et them make of it what

they will

Tar%ovs%y was !reQuet$y as%e" what his filmsmeant) a" he wou$" o!te rep$y that they meat

othi, other tha what they were.

+The symbo$ itse$! must be trasparet to trasce"ece+ Hampbe$$4 !or T sese o! trasparecyby usi, ,$ass) mirrors) sur!aces) water a" tras$ucet !orms

E am interested not in symbols" but in ima%es. & ima%e has a unlimited number of

possible interpretations.( Mowever) T: The Ione" while bein% Fust Ha zone#" also symbolisedthe trials and tribulations of life itself" while the waterin% of the tree in The Sacrifice Hfor

me is a symbol of faith#&

" the a,ai) a !i$m) $i%e a paiti,) eists at a certai $eve$ beyo" "ia$o,ue a$to,ether R

beyo" "iscourse. The ima%e) you cou$" say) is iheret$y ambi%uous: that is what ma%es it so

!asciati,O there is a$ways a resi"ue o! pure ima%ery that is u$timate$y $Fust there$ and

beyond interpretation&

T: EThe ima%e is indivisible and elusive) "epe"et upo our cosciousess a" o the rea$

wor$" which it see%s to embo"y.D

The essence of an ima%e cannot be described in words" because it always incorporates

infinity&[Bracusi

T: &'$y the !i$m as a wholecou$" be sai" to carry) i a "e!iite sese) a ideolo%ical version of

reality(.

Tar%ovs%y was a"amat$y oppose" to ay ite$$ectua$ iterpretatio o! his !i$ms. Fi$ms i

,eera$) a" his filmsi particu$ar) are !irst a" !oremost a emotional e@perience.

Tar%ovs%y+s camera movemet re!$ects 9i ciematic terms9 the rhythmic pulsation cocea$e" beneath

the outside appearance of reality) provo%i, a stro, emotioa$ respose) as we$$ as cotemp$atio. t the

same time) the impact o! this a" simi$ar movemets is at oce sesoria$ a" emotioa$) as the pace o! the

trac%i, is either synchronized or desynchronized with the rhythm o! spo%e tet) the musica$accompaimet) a" the thematic aspect o! the actio.

Nheever the motio o Tar%ovs%y+s scree is decelerated) the actio acQuires a stro, emotioa$

impact) especia$$y i nostal%ic recollections" ni%htmares" and fantasies e.,.) the !$yi, bir"s i The

irror4 = ma%i, the viewers aware o! the passa%e of time a" its rhythmic pressures= beeath the

ima,e+s represetatioa$ aspect where umerous $ayers o! ineffable transcendental si%nification ca be

!ou".

rt must trasce" a" ot mere$y recor" the outsi"e wor$". For him) the camera is a ep$orer

rather tha a observer.

O reFectin% facial e@pression as a way of conveyin% ideas) T attempts to *reach ito our

iermost !ee$i,s) to remi" us o! some obscure memories a" eperieces o! our ow)

overwhe$mi, us) stirrin% our souls $i%e a revelation that is impossible to interpret in anyparticular way.+D

But each o! these thematic symbo$s o! the "ream wor$" is represete" o the scree by au"io9

visua$ meas that ma%e their *ie!!abi$ity* impossib$e to covey verba$$y: Tar%ovs%y+s rai) !ire)

!o,) wi") a" earth are eperiece" o the scree as ciematic pheomea rather tha perceive" asa atura$ power.


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Tar%ovs%y himse$! c$aime" that i oe o! his !i$ms is aythi, symbo$iCe". The Zoe i Stalker

is simp$y a Coe) he wrote i Sculpting in Time) 4 o$y to "escribe the Zoe as $i!e itse$! throu,h

which ma has to pass. $Art symbolizes the meanin% of our e@istence$&

Frame !or !rame) the pictures are $i%e care!u$$y compose" paiti,s) with a$most imperceptible

movements a"subtly chan%in% li%htO

TarkovskyCs slow motion is softly poetic) stemmi, !rom his $yrica$ view o! $i!e J $o, shots Jcoo$ objectivity J s$ow trac%i, shot) o!te crabwise i. e. ) para$$e$ to the subject4 J Hha,i,!rom co$our to b$ac%9a"9white as iMirror a"Nostalghia- i"icates a movement from one

world" one mental state" one perception" to another. J T: b$ac%9a"9white c$oser to how

perceptio wor%s i rea$ $i!e) how co$our is+t) rea$$y otice" i rea$ $i!e) but co$our !i$ms

artificiallyattract attetio to themse$ves

&Vou have to eutra$iCe co$or) to mo"i!y its impact o the au"iece. ;! co$or become the

"omiat "ramatic e$emet o! the shot) it meas that that the "irector a" camera9ma are usi,

a paiterDs metho"s to a!!ect the au"iece. >s. to"ay: co$or photo,raphy wi$$ be warri, a,aistthe epressiveess o! the ima,e.( T i Scu$pti, 0684

The e!!ect o! co$or shou$" be eutra$iCe" by a$terati, co$or a" moochrome seQueces) so that

the impressio ma"e by the comp$ete spectrum is space" out) toe" "ow( 0684. T eQuate" thismoochrome e!!ect u$time$e 6 !i$me4 cu scee$e$ &spiritua$(. Mo$$a"er metioeaCa caAembra" !o$oseste chiaroscuro &pt a ivoca su!$etu$(.

; Losta$,hia: re$atia ambi,ua vis9rea$itate pre,ateste traCitia "itr9o $ume i a$ta.

apanese Arteamp$e o! universality!or T.4 Ae!use" to privi$e,e Hhristiaity above other riva$ cree"s. U "istictive !$avour o! Hhia a"

the Gast: o! ao TCu) @e%o) the *;"ia* cosmic cosciousess o! theosophists $i%e ur"jie!!.

Sa,es o! ;"ia) Hhia a" 7apa

0aikupoetry tar,ets a space that is simu$taeous$y commop$ace a" stra,e

Simi$ar cu 7apaese hai%u The $ast seQuece o! &Sacri!ice(: the chi$") tree) sea 9 The beauty o!the ima,e so pre,at with peace a" !arewe$$4 "erives !rom the sese we ,et that thereDs at

oce too little and too much %oin%o i it R itDs $i%e a mysterious $ie !rom a poem we $ovethat obstiate$y c$i,s oto its stran%eness. J @ris @e$vi amo, the ve,etatio. Me "oes ot act)

but sta"s passive$y as i! he were part o! the sceery. T the cuts to a patch o! wee"s swayi,

beeath the water. The camera Cooms i very s$ow$y !or approimate$y ha$! a miute o thissubject) with the si,u$ar sou" o! rui, water o the sou"trac%.

;t is aa$o,ous to 7apaese pritma%i, i which a tiy huma !i,ure is sometimes just barely

discerniblei a ature scee.

T was especia$$y "raw to the itera$ $o,ic o! 7apaese hai%u) wherei three very "i!!eret

ima,es are combie" to !orm a whole much lar%er than the parts.

These ima,es !rom Stalker a" Solaris su,,est the dissolution of the human character innature) as T shows the potetia$ !or a si,$e huma bei, to be tras!orme" ito a part of a

lar%er whole.

There are o easy ep$aatios to these ima,es) but they seem to poit to a interpenetration of

the seen and unseen worlds) visib$e mai!estatios o! the spiritua$ batt$es that are cotiua$$y

bei, wa,e" arou" us.

The !reQuet Hstill lives#i the !i$ms the tea cups o the tab$e i the rai i Solaris) the comb

a" Bib$e iNostalgia) the mirror) cup a" stereo i The Sacriice to ame but three a$so echo


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the paiter$y "evice o! the memento mori) objects which serve to remi" the perso

cotemp$ati, the paiti, that life is transitory.

Time" memory" dreams' the inner Fourney throu%h the time1space continuum TDs art is ot a represetatio o! the subject) but the relationobject9subject artist4.

T sicere$y be$ieve" that he ha" a specia$ ro$e to p$ay i the history o! art. T creates &dream films(

CTimeC is the element which ima%ination (dreams) needs in order to leave the domain

of the abstract?

&For the !irst time i the history o! the arts) i the history o! cu$ture) ma !ou" the

meas to take an impression of time12

T: &Time is a condition for the e@istence of our HE# (

The uniJueness of cinema as an art is that it is capable of Hsculptin% in time

T: ETime) prite" i its !actua$ !orms a" mai!estatios: such is the supreme i"ea o!

ciema as a art.D

Time 1 not as an obFective reality. ;t is ot the job o! ciema to represento ce$$u$oi"the &actua$ity o! time( that eists i the wor$" separate$y !rom humaity.

The "omiat) a$$9power!u$ !actor o! the !i$m ima,e is rhythmepressi, the course of

timewithi the !rame.

Tras!er the same i"ea to the mai $ies a" cotours) they "o ot "eote) represet) or

symbo$iCe emotio or emotios4 they are e!!orts to convey emotion directly) ume"iate" by

p$ot or arrative a" character i the usua$ sese.

=Sice he recor"s ature "irect$y) TDs iterest i ature is Quite "i!!eret: he "oes ot worry that

the ima,e looks $i%e ature he tries to have the time i the shotfeel like nature-

Mow p$ace is al(a$s a placei timea" how this creates the si,i!icace o! memories

o! a particu$ar p$ace:Mirror 01#54 "ea$s with ei$e across time: $oss J attempt throu,h memoryto re,ai what is $ost. But it is a$so the attempt o! a artist to recreate the "eep$y !e$t persoa$sesatios a" !ee$i, o! a particu$ar time a" space [home which) !or him) appears to be

si,i!icat i "etermii, the patter o! his $i!e. Mirror wet throu,h 33 "i!!eret versios

be!ore it the !ia$ e"it was a$$owe" to be re$ease"4

Bach%ti !or $iterature4 about &chronotope( = Time1space [@at J Gistei J the &;(:

Ethe itrisic coecte"ess o! tempora$ a" spatia$ re$atioships that are artistica$$y epresse" i

$iteratureD. O ETime) as it were) thic%es) ta%es o !$esh) becomes artistica$$y visib$e $i%ewise)space becomes char,e" a" resposive to the movemets o! time) p$ot a" historyD. O2ur sense

of self" or our history" is also our sense of time and place" and this is always specific&

T a" the otio o! returnin%space or time?4 returnin% throu%h internalization4-

Ne are !orce" to $oo% at ourse$ves) as i! we were sta"i, be!ore a mirror: ree 01164)

it is use" as Ethe metaphorica$ $oo%i,9,$ass that provi"es ma with a reflection of himself. En

its surface" time is refracted a" it is a trasitioa$ "evice throu,h which oe may pass to

other worlds) other states o! consciousnessD.

Some thi,s are better feltrather tha aa$yse". There are some thi,s that are immue

to critiQue a" ratioa$ ar,umet) but respo" rather to more base a" ucoscious stimu$i. G:


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Dwellin%) as a privateactivity. Ne "o ot te" to aa$yse how we $ive) whi$st we are "oi, it.

Ne "o ee" eve aa$yse our memories) but istea" re$ive them.

P$aces 3ust are their meai, 9 !rom simp$e presece. 'ur "we$$i, 9 a seam$ess

cotiuum o! presets $i%e" to the past a" !uture. ;t ho$"s our memories a" our hopes a"

"reams !or the !uture J our preset activities.

4Dwellin% (space1time K memories and dreams) K dacha L Allienation the $oss o!ioceceO4 vs& Aecover o! iocece) chi$"hoo") time = Para"ise &home(4 = Bternal return&Sacri!ice(4 J ev To$stoy: Hhristiaity is ot be$ie! i o" but belief in an. So$aris4

omplementarity: 6 heroes !rom &Sta$%er( = 'e perso = Mistory o! humaity

Kostoievs%y4- J wome9ma

*hythm T: Ahythm "oes ot eist i re,ar" to ay +orma$+ or +o9orma$+ time. ;t eists

independently) creati, its ow rhythm a" Cfeelin%C.

T: +Ahythm+ as a tempora$ Qua$ity has ot bee pro"uce" throu,h mota,e but that it is a

%i" of rhythm of non1rhythm) pro"uci, a very ori,ia$ Qua$ity o! ciematic time: +Ahythm)

the) is ot the metrica$ seQuece o! pieces what ma%es it is the time9thrust withi !rames.D

onstruction of space must be related to time. O everythi, i !$u so that the viewer

must %eep rea"justi,. static) the viewer is a$$owe") eve provo%e") to see ew9ess at each

momet.

Time = Past J !uture U Lature o! memory Past a" !uture = ;ma,iative evets) ot

measuremets o! objective time

emorycostitutes our very eistece) eve our personality.

T: E; a certai sese the past is far more real) or at ay rate more stab$e) more re$iat

tha the preset.D 2ur very identity is our past. Nhitehea": we $ive i our past.4

T: s we retur to our past cause a" e!!ect may) i a mora$ sese) be $i%e"

retroactively. [So$aris

Dreams CDreamsC are a matter of time 9 this "oes ot imp$y ma%i, a ,ive piece o! rea$ity

stra,e by embe""i, it i aother $eve$ o! time.

The +$o,ic o! "reams+ is) $i%e ostraneniei !orma$ist !i$m theory) a matter o! time. O

[Defamiliarizationor ostranenieWXY\]\^]4 is the artistictechiQue o! !orci, the au"ieceto see common thin%s in an unfamiliar or stran%e wayi or"er to ehace perceptio o! the

!ami$iar. Ka"a)postmo"erism)epic theatre)a"sciece !ictio

o clear difference between reality and dreams for T&

Boris Ispes%y+s "e!. o! iterior9eterior poits: +The e@ternal point1of1view) as a

compositioa$ "evice) "raws its si,i!icace !rom its a!!i$iatio with the prob$em o! ostranenie

or estran%ement. The essece o! the pheomeo resi"es primari$y i the use o! a ew or

estran%ed viewpoint on a familiar thin%. . . The thi, is +ma"e stra,e+ by lookin% at it from

the outside. The object o! every"ay $i!e becomes a object o! aesthetic iterest because aauthor $oo%s at it.
http://en.wikipedia.org/wiki/Arthttp://en.wikipedia.org/wiki/Dadahttp://en.wikipedia.org/wiki/Postmodernismhttp://en.wikipedia.org/wiki/Postmodernismhttp://en.wikipedia.org/wiki/Epic_theatrehttp://en.wikipedia.org/wiki/Epic_theatrehttp://en.wikipedia.org/wiki/Epic_theatrehttp://en.wikipedia.org/wiki/Science_fictionhttp://en.wikipedia.org/wiki/Science_fictionhttp://en.wikipedia.org/wiki/Arthttp://en.wikipedia.org/wiki/Dadahttp://en.wikipedia.org/wiki/Postmodernismhttp://en.wikipedia.org/wiki/Epic_theatrehttp://en.wikipedia.org/wiki/Science_fiction


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T+s e@pressions"o ot represet the +rea$+) or "o they symbo$iCe the +urea$+. Aather) they

remai i the "omai o! the CimprobableCbetwee symbo$iCatio) represetatio) a" estra,e"

epressios = +stra,e+ character [creaCa mai mu$te iterpretari

oncept of time possesses a basically non1structural Juality& [timpu$ este suspe"at

The time of the dreamis pro"uce" throu,h e@periencescomi, to us throu,h memory:

O no temporal structure. T: +Mow "i" this "ay imprit itse$! o our memory+? Othis memory comes to us +as

somethi, amorphous" va%ue) with o s%e$eto or schema. i%e a cloudC. The va%ueness of

these memories is a va%ueness of time) meai, these memories $ac% a +s%e$eto+ i the !orm o!

a abstract tempora$ structure.

+The lo%ic of the dreamC: every scee pro"uces its ow tempora$ $aws) its ow time = its

ow +time truth+.

rhythm of time is ot pro"uce" throu,h a scee+s $o,ica$ re$atioship with other

scees. The tempora$ $aws o! the scee are abso$ute$y +true+ i the sese that they are abso$ute$y

CnecessaryC in re%ard to the material itself.

T: Artistic e@pression +has to come from inner necessity) !rom a or%anic process

,oi, o i the materia$ as a wholeC. The or%anic wholeo! the materia$ 9 ot the abstract)

structura$) or,aism o! a !i$m that has bee pro"uce" by monta%e. ;t is a or,aic who$e !orme"

by artistic ecessity) a Cinner necessityC) arisi, out o! the Cinner dynamic of the mood of the

situationC. +The "reamD) as a pheomeo o! ciematic time) arises out o! this CinnerC"CtemporalC necessity" sice ay +time pressure must ot be ,aie" casua$$y+. Distortions of time

as they appear i the ciematic "ream must be mou$"e" accor"i, to this ecessity they shou$"ot be itro"uce" as +techica$+ time shi!ts "estie" to u"er$ie) !or eamp$e) the p$ot o! a story.

; this sese dreams are a matter of Csculptin% in timeC.

T: +Sometimes the utterly unrealcomes to epress realityitse$!+) aesthetic o! Cmakin%

thin%s stran%eCthat "eve$ops a" at the same time overcomes the pricip$e o! ostranenie

The time of the dreamcommuicates rea$ity as somethi, CunrealCwhich everthe$essa!!ects us at $east as harsh$y as realityitse$!

asto Bache$ar": CDreamsC must be a kind of CpasteC&The or,aic state o! the paste is

ot represete" by a stab$e a" abstract structure. The paste is thorou,h$y concrete) i the sameway that the Cpaste of dreamsC has no abstract temporal frame : it is time throu,h a" throu,h

a" a$so thorou,h$y real.

Lo har" $ie betwee isi"e a" outsi"e. 2ne learns about the inside from

carefully studyin% the outside&

The comp$e co$or co"i, a" structuri, o! these "reams) memories a" visios is

$ar,e$y resposib$e !or the immediate effectthat the !i$ms have o the perceptio o! the viewer.

HThe artistic ima%e cannot be one1sided' in order Fustly to be called truthful" it has

to unite within itself dialectically contradictory phenomena T: &The inner world we try to reproduce on screen ot just the authorDs ier wor$")

but what lies within the world itself"what is essetia$ to it a" "oes not depend on us&(

The essetia$ nature of a thin%is a$ways internal) isi"e the thi,- [eseta $ucruri$or

$a Bracusi

onscious1unconscious" subFective1obFective" particular1universal


13/16

Bor"ers betwee coscious a" ucoscious eperiece are uncertainO. represeti,

different states of consciousness.

B@perience of livin% ivo$ves the etire psyche both conscious and unconscious

aspects are eQua$$y importat.

&Truth to perception( is subFectiverather tha objective [@at

Thematic symbo$s o! the "ream wor$" 9 represete" by au"io9visua$ meas 99999

ineffability$ impossible to convey verbally: rai) !ire) !o,) wi") a" earth are eperiece" o

the scree as cinematic phenomenarather tha perceive" as a atura$ power.

Fi$m) $i%e a paiti,) eists at a certai $eve$ beyo" "ia$o,ue a$to,ether R beyo"

"iscourse. The ima%eis iheret$y ambi%uousM

;t is o$y throu,h the particulara" speci!ic that the universal is revealed.

&the ier wor$" we try to repro"uce o scree ot just the authorDs ier wor$") but

what lies within the world itself) what is essentialto it a" "oes ot "epe" o us( Sculpting0


14/16

T: &Oateris very importat) [;t is alive) it has "epth) it moves) it cha,es) it re!$ects $i%e

mirror.(

;t is so static yet so mobi$e the flowin% water dissolves the colours) washes out the

actua$ities a" the out$ies o har"9e",e" 999 ima,e b$ur a" "e$iQuesce) to melt at the ed%es

4water L dream3

['e has to &!ee$(/$ive the rai ite,rate" i a scee) ot to ,ive it a meai, as a i"ivi"ua$

process

U water K li%ht N life K belief

Fire) rai) wi") rivers 9 these are the cosmic) power!u$ e$emets

*Aeach ito our iermost !ee$i,s) to remi" us o! some obscure memories a"

eperieces o! our ow) overwhe$mi, us) stirri, our sou$s $i%e a reve$atio that is impossib$eto iterpret i ay particu$ar way.++

/ilms is to reconstruct" recreate life: to $et the ,rass sway) $et the water !$ow) $et the

wi" b$ow these thi,s are recor"e". U ourney is more important than the destination?(P$ato teaches is that Truth ca ever be "irect$y eperiece". The ;"ea$ ca ever be actua$iCe".

The 'e ca ever be sesib$e.4 T: i Stalker the "o, was Ejust a "o,D) it a$so acts as a me"iator betwee the wor$"s o!

"reami, a" wa%i,4

-ounds K music &Loises must become music.( Aobert Bresso4

Kebussy: usic "oesDt represet emotio) music is itself emotion.

; his $ater !i$ms) T "eve$ops a compe$$i, lan%ua%e base" o soundCspotetia$ !or

ambi%uity and abstraction. Me probes sou"+s abi$ity to!uctio bothliterally (attache" to aobject4 a" abstractlyi"epe"et o! ay reco,iCab$e source4.

$ast 6 !i$ms: $o, perio"s o! si$ece throu,h which !ait sou"s a" so!t voicesmometari$y mai!est) echo) a" the "isappear bac% i the Quiet. This is how he makes the

passa%e of time feel so visceral&;t caDt be "oe with appea$s to si,ht o$y. 2ur eyes are too

used to bein% open and observant all the time&Stalker)Nostalghia a" 4ret) are $essos i

$istei,.4

;! these shots were tota$$y without sou") they cou$" easi$y seem "u$$. But i! they have

sou") just a !ew care!u$$y se$ecte" sou"s that are subt$e a" Quiet) the scene comes to life) a"

the viewer has to be ever attetive to i!ormatio !rom two "i!!eret seses istea" o! just oe.


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T+s use o! sound permits his !i$m to travel smoothly throu,h mu$tip$e a" eQua$$y

wei,hte" layers of e@perience. These $ayers !$ow simultaneouslythrou,h oe aother without

the ri,i" hierarchy that separates most !i$mic wor$" ito *rea$ity* a" *!atasy*.

Fi$ms 9 !u$$ o! bi% spaces spacious) !or two reasos: 04 Mis use o! o!!9scree sou") a"

particu$ar$y soundswhich e$ar,e the sense of space34 the $ac% o! chatter [ta$%) o! "ia$o,ue T+s

!i$ms have $o, chu%s o! si$ece) or a very !ew sou"s) a" these $o, passa,es are ot %itte"out with music) "e$iberate$y ambi%uous&&Mis sou"s "estabi$iCe they ma%e the coheret a"com!ortab$e seem suddenly stran%e and disorientin%( para$$e$ sou" to interweave reality"

dream" memory and fantasyM

The sound of water su,,ests a &transcendent" unlocated space() a p$ace that has

a$ways bee there) $i%e the invisible) sacred inner world N reli%ious states of bein%

other techiQue: su""e$y a $ou" burst of noise to disrupt a len%thy stillness . Lith

Symphoy 9999 T $eare" this pricip$e !rom Beethove. This aura$ shi!t wi$$ $i%e$y cause a

visceral reactiono! the viewerO B@treme contrastcreates a very use!u$ tension.

T and Oomen

T: The "irectorDs tas% is to recreate $i!e: its movemet) its cotra"ictios) its "yamic a"co!$icts. ;t is his "uty to revea$ every iota o! the truth he has see eve i! o everyoe !i"s

that truth acceptab$e.

The Bib$e sets the !orces o! ,oo" a" evi$ a,aist oe aother throu,h the a$$e,orica$

!i,ures o! the >ir,i other a" the NhoreO this biary as a 7aus9!ace" !emiiity a" heep$oits the tesio i 4ret, e"owi, his aria with the Qua$ities o! both bib$ica$ ary

!i,ures.

Sta$%er) Losta$,hia) '!!ret O

T says as much i his "iaries) &Nhat is the purpose o! Noma? Mumi$iatio i the service

o! ove.( 814 9999 miso,yy) a" the critic ca eat$y coc$u"e that T hates wome.

T is probab$y ot a !emiistO Hharacters i a T !i$m are ever ri,ht or wro, i ay strict

sese.

; Losta$,hia: "iscutia preot si Gu,eia: This scee) however) $i%e so may other o! TDs)

!uctios e!!ective$y o$y by virtue o! its ambiva$ece a" ot by the ri,htess or wro,ess o!

either characterDs viewpoit.

TDs notions o complementarit$.

Documentar 7P>8'


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T "ec$ara: ii "atoreaCa totu$ mamei $ui care a avut o viata ! ,rea.

Siberia: cea mai bua perioa"a a vietii. $a 3 "e ai4 J stu"ii pia si scoa$a "e arta "i

oscova) mama $ui a vrut sa !aca arta) copi$aria ramae itot"eaua ce$ mai bu timp a$ ostru:

immorta$ si s$ab) "aca simt ca imi pier" copi$aria) atuci totu$ e pier"ut !ara copi$arie) u as !i!acut imic i ciema Sartre $a veetia ciema = my $i!e &Hre" ca umai poetii vor ramae i

istoria ciema9u$ui() eista o $e,e: autor ciema este !acut "i poeti) marii re,iCori sut poeti.Poet = care isi creaCa $umea $ui !ara sa repro"uca rea$itatea "i jur rub$iov: artistu$ eista pt ca$umea u e per!ecta. $t!e$) u ar eista. arta s9a ascut tocmai "atorita $umii imper!ecte.

So$aris: om i co"itii ihumae. Ke ce sa ep$oram uiversa$ ca" u e cuoastem pe

oi? Tiberia a murit "e rusie u "e !rica. sta e si,ura traire carea sa$veaCa omu$. emoriaemotive) u cuoasterea. Huoasterea u e !ace !ericiti) "impotriva. >s copi$ !ara cuoastereO

p$ate$e percep $ucruri$e. Lu $e ite$e,em pt ca u cre"em i atura) i oi isie. Sutem pe

!u,a mereuO u avem timp sa ,a"im. >reau sa imi apropii atura emotioa$ si cotemp$ative.Lu icerc sa o ratioa$iCeC. Gu percep ca u copi$ sau u aima$ u ca u a"u$t care tra,e

proprii$e coc$uCii. Pt tieri: ivata sa iubesti so$itu"iea) sa !ii mai mu$t si,ur cu tie isuti) imi

p$ac copii mu$t si aima$e$e. Sut ioceti. Kar omu$ care poate a$$e,e itre bie sir au) ivata sa

mita) pt e$ cre"e ca va !i mai bo,at si mai !ericit ast!e$. >isuri$e me$e sut co$or. ;tot"eaua.Ke!ectu$ meu: impacieta) erab"area. Lu sut to$erat. Lu imi p$ace sa ra". ; $umea

asta u e $oc "e ras. a simt viovat ca" ra". Lu pot sa imi reva" !i$me$e. G precum uu$ care

isi citeste jura$u$ scris ca" era mic) p$i "e ,a"uri immature. stept sa viseC ca" eramcopi$Oca" eram !ericit !ii"ca totu$ era posibi$O01 variate $a ',$i"a.

0.0.

onclusion Ohen he spoke about faith and spirituality T did not have in mind hurch doctrine&

Hhristiaity is our mytho$o,y. ;t is the ima,iative ,rou"wor% o! the Nester cu$tura$

tra"itio. Lear$y every oe o! our ,reat artist wor%s withi a 7u"eo9Hhristia i"iom.

Nhether their wor%s "ea$ ep$icit$y with Bib$ica$ characters a" stories) as "o the

majority o! paiti,s !rom the i""$e ,es throu,h the ei,hteeth cetury whether they su,,est

speci!ica$$y Hhristia mora$s) as "o the majority o! a$$ ove$s a" poems writte be!ore the

twetieth cetury whether they ostesib$y i"ict !aith $i%e a Buue$ or a Ka$i or whether they

champio !aith throu,h tota$$y abstract meas $i%e a Aoth%o or a Bra%ha,e) most wester artistsare implicitly or e@plicitly talkin% about hristianity.

Gve i the $ast cetury whe the o$"er arts o! paiti,) musica$ compositio)

architecture) poetry a" $iterature each move" away !rom Hhristia subjects a" attracte" !ewer

a" !ewer Hhristia practitioers) the ciema was "omiate" by be$ievers o! a$$ stripes. Fromurau a" Kreyer to Bresso) T a" Aosse$$ii to So%urov a" ,e$opou$os) may o! our

,reat !i$mma%ers are Hhristias ma%i, what they be$ieve to be Hhristia !i$ms. ; Nester Hhristiaity va$ues are "e!iite they are attaie" by either/or propositios) by

choices betwee ,oo" a" evi$. Ohat values can be certain in such deliberately ambivalent

works of art as T#s filmsQ

Vacariu - The Framework of a. Tarkovsky (Compilation)

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